Podcasts about native american art

We actually recorded this just before we left for Egypt in March this year; it's been in the hopper for a while! Dan Friday, a Native American craftsman and professional glassmaker, joins us to talk about his fascination with glass artifacts of ancient Egypt. Dan was with us on one of our Egypt tours a few years ago, and shared some of his fascination with us at the time. Along with glassmaking and ancient glass, we also discuss the egyptian vases, the fascinating topic of the Rupert's Drop, connections between ancient mythologies, and much more.   Join us, Ben from UnchartedX, Adam Young, and Karoly Poka for an afternoon at The Metropolitan Museum of Art in New York where we will peruse their collection of Ancient Egyptian artifacts, then we will move to the Explorer's Club for dinner and presentations from us and Ben! https://eveningattheexplorersclub.eventbrite.com/ Join our Patreon, support the show, get extra content and early access! https://www.patreon.com/brothersoftheserpent Support the show with a paypal donation: https://paypal.me/snakebros    Chapters 00:00 Introduction to Glass Making and Artistry 05:56 Historical Significance of Glass in Egypt 11:56 Precision in Ancient Glass Artifacts 18:01 Vibration and Polishing Techniques in Glass Making 27:01 Exploring Ancient Glass and Polishing Techniques 29:36 Precision in Ancient Vase Production 30:28 The Art of Glass Annealing 32:00 Vibrations and Stone Cutting Theories 33:37 Understanding Rupert's Drop and Internal Stress 36:54 The Fragility of Glass and Its Applications 39:03 Machinery and Tools for Glass and Stone Work 42:24 The Complexity of Stone Cutting in Peru 46:53 The Aesthetic and Functional Aspects of Ancient Stones 52:19 Exploring Ancient Civilizations and Shared Histories 54:28 The Importance of Human Connection and Education 56:57 Experiencing the Mystique of the King's Chamber 01:00:26 The Enigma of Ancient Structures and Their Builders 01:03:09 Mysteries of Peru and the Anunnaki 01:06:50 Theories on Ancient Construction Techniques 01:10:01 Unexplained Phenomena and Ancient Technologies 01:15:10 Cultural Myths and Their Significance 01:22:16 Cultural Narratives and Flood Myths 01:24:51 Art as a Reflection of Heritage 01:27:26 The Process of Glassblowing and Artistic Creation 01:32:27 Exploring the Intersection of Tradition and Modernity 01:39:02 Symmetry in Art: A Deeper Look 01:48:01 Ancient Engineering and Mythology 01:49:19 Exploring Ancient Materials and Techniques 01:51:11 Advancements in Archaeological Projects 01:53:32 Controversies in Archaeological Preservation 01:54:52 Debates on Excavation Practices 01:56:50 The Future of Archaeological Discoveries 02:00:06 Diving into Underwater Archaeology 02:02:34 The Importance of Shared History 02:06:15 Repatriation and Cultural Heritage 02:09:25 Evolving Perspectives in Egyptology

[Native American Art] Joining us in our Scottsdale, Arizona, studio for today's episode is Thomas "Breeze" Marcus, an artist with long ties to the art community in Arizona. Breeze comes from the world of graffiti, which he uses in his contemporary paintings and murals. He recently completed a large mural at Western Spirit: Scottsdale's Museum of the West. We talk about graffiti culture, his Native American heritage, Arizona culture and much more in this wide-ranging interview. This episode is sponsored by Native American Art magazine, which is the official magazine of the Heard Museum Indian Fair & Market. Learn about more shows like this at nativeamericanartmagazine.com.

Journey with us into the colorful and thought-provoking world of Native American art with our special guest, Laura J. Allen. As the Curator of Native American Art at the Montclair Art Museum, Laura shares her fascinating journey from the American Museum of Natural History to her current role, where she spearheads groundbreaking projects. She sheds light on the collaborative vision behind the reinstallation of MAM's Native American Art Collection, crafted in close consultation with a Native American Art Advisory Council. Laura's passion for an artist-focused curatorial approach shines through in her work on exhibitions like Meryl McMaster Chronologies and From My Home to Yours, where themes of time disruption and inclusivity take center stage.We unravel the layers of creativity and cultural dialogue in exhibitions that merge historical and contemporary Native art forms, challenging colonial narratives and celebrating Indigenous knowledge. The episode features the thoughtful works of artists such as Holly Wilson and Nicholas Galanin, who engage with historical collections to critique misattributions and colonial suppression. Through powerful site-specific installations and narratives of dispossession and reconnection, the exhibitions aim to transform the museum space, fostering a dialogue between the past and present. With insights from creatives like Sine Austro and Sebastian Aubin, we explore how weaving serves as both a metaphor and a tool for storytelling in these exhibitions.Looking forward, the conversation also highlights the ongoing evolution of Indigenous textiles and fashion at MAM, emphasizing cultural expression and sovereignty. Laura delves into the complex process of selecting works from a vast collection while adhering to NAGPRA guidelines and collaborating with Indigenous communities. Exciting upcoming projects, such as a 2026 exhibition on Northwest Coast dress and textiles, promise to continue the museum's commitment to highlighting the transformative power of contemporary Native American art. Through these vibrant discussions, we emphasize our dedication to deepening responsibilities to Native communities and exploring the potential of future exhibitions to promote justice and environmental stewardship.

[Native American Art] For today's episode we visit to the 2025 Heard Museum Guild Indian Fair & Market in Phoenix. Host Michael Clawson drops by the booths of Best of Show winner Rebecca Lucario, Native American Art cover artist Beverly Blacksheep and painter Ray Goodluck. Hear three different perspectives about the market and the Native American art community. This episode is sponsored by Native American Art magazine, which is the official magazine of the Heard Museum Indian Fair & Market. Learn about more shows like this at nativeamericanartmagazine.com.

[Native American Art] Join us as we visit the recently remodeled and renovated Heard Museum Shop in Phoenix. We talk to shop director Kelly Gould and John Bulla, the museum's deputy director and COO. They talk about the wonderful world of museum gift shops, how they can support the core mission of a museum and the unique differences of the Heard Shop to most museum gift stores. This episode also serves as a preview of the 2025 Heard Museum Guild Indian Fair & Market, which will take place March 1-2, 2025, on the grounds of the museum. Native American Art magazine is the official magazine of the annual event and will be on hand giving out magazines and selling the Heard Indian Fair & Market T-shirt. Be sure to stop into our booth near the main entrance. Learn more about the market at heard.org.

Jack Maher|Changing White Attitudes About Native American Art Historical novelist Jack Maher is a proud fifth generation Colorado native and grandson of Eric Douglas, pioneering Denver Art Museum curator, Native arts champion and the focus of Jack's best-seller "Poppy: A Novel About A Colorful Colorado Life."  Prior to becoming a novelist, Jack worked at top rated NBC affiliate KUSA-TV in Denver as a 9NEWS Multimedia Journalist and Executive Producer. A four time Emmy winner, Jack is the recipient of multiple broadcasting honors from the Associated Press and the Colorado Broadcasters Association. Link: https://www.sandgoatmanorpublishing.com/ Support PEG by checking out our Sponsors: Download and use Newsly for free now from www.newsly.me or from the link in the description, and use promo code “GHOST” and receive a 1-month free premium subscription. The best tool for getting podcast guests: https://podmatch.com/signup/phantomelectricghost Subscribe to our Instagram for exclusive content: https://www.instagram.com/expansive_sound_experiments/ Subscribe to our YouTube  https://youtube.com/@phantomelectricghost?si=rEyT56WQvDsAoRpr PEG uses StreamYard.com for our live podcasts https://streamyard.com/pal/c/6290085463457792 Get $10.00 Credit for using StreamYard.com when you sign up with our link RSS https://anchor.fm/s/3b31908/podcast/rss

Jack Maher is an historical novelist, proud 5th generation Colorado native, and grandson of Eric Douglas, who was a pioneering Denver Art Museum curator, champion for Native arts, and the focus of Jack's best-selling book titled “Poppy: A Novel About A Colorful Colorado Life.” Jack is also a former 9 NEWS Multimedia Journalist and Executive Producer, a 4-time Emmy winner, and the recipient of multiple broadcasting honors from the Associated Press and the Colorado Broadcasters Association. Jack is also a gifted storyteller, which is obvious when he shares the story of how his remarkable grandfather, who he calls Poppy, devoted his life to elevated Native American art at a time when much of it was ignored or stereotyped. He connected with Native American artists through long horseback trips through the American Southwest in the early 20th century, and was a tireless, innovative champion of their pottery, textiles and sand paintings. Eric Douglas also served in WWII, commanding a hospital in the Pacific during WWII, along with a team of 110 nurses as well. Jack shares the story of his grandfather's incredible life and the impact he had on others with the skill of a gifted storyteller. He also shares how the sudden loss of his beloved wife and best friend, Becky, became the catalyst to finally sit down and write Poppy's story. He also shares his personal story of love, loss, grief, and how his strong faith has been helping him and his family deal with their loss, along with the many small miracles that came along with it as well. Download this wonderful episode to hear Poppy's story of preserving Native American Art and the role it plays in Colorado history, and the incredible power of faith and love.     https://www.sandgoatmanorpublishing.com/ https://www.facebook.com/jack.maher.75/ https://www.linkedin.com/in/jack-maher-11373189/

A new exhibition of Indigenous art at the Baltimore Museum of Art (BMA) is called Preoccupied: Indigenizing the Museum.  Dare Turner and Leilia Grothe are the curators of the huge show. Turner is a member of the Yurok Tribe and Curator of Indigenous Art at the Brooklyn Museum. Grothe is the Associate Curator of Contemporary Art at the BMA. They joined Tom Hall to discuss the importance of including native and indigenous perspectives in contemporary art. (Artwork by Luiseño/Puyukitchum, Ipai, and Mexican American)Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.

Today's episode was recorded from the streets of Santa Fe, New Mexico, during the 102nd Santa Fe Indian Market. We interviewed four artists who were showing their work at this year's market. The artists are Best of Show winner and returning guest, Dan Vallo; our August/September cover artist, Jackie Larson Bread; painter and mixed-media artist Tamara Bell; and sculptor Upton Ethelbah Jr., who is known around market as Greyshoes. The market is over, but mark your calendar for August 16 and 17, 2025, when SWAIA Santa Fe Indian Market returns. This episode is sponsored by Native American Art, the Official Magazine of Santa Fe Indian Market. Learn more at nativeamericanartmagazine.com.

We are in Santa Fe, New Mexico, for this episode with sculptor Ed Natiya. Ed's bronze works, including many large monuments, are a way for the artist to speak to his Navajo heritage and traditions. His sculpture has been a fixture in the Southwest for many years, but it's also finding new collectors in other places, including Texas, where Ed recently won a top award at the Briscoe Western Art Museum. Today's episode is sponsored by Native American Art magazine, which focuses exclusively on the work of Native American artists. Learn more at nativeamericanartmagazine.com.  

I've known Michael Higgins for 35+ years and he was actually one of the first dealers that I met in Tucson when I moved here. You see, Michael has been actively buying and selling Native American arts since 1972. Michael got out of the military after serving in Vietnam, and went directly into the buying and selling of Native American art. His area of expertise ranges from the contemporary to historic Native American art, especially beadwork.It was wonderful to get to actually spend some time talking to Michael. We live in the same town, but life gets in the way. We get busy. We don't get to see each other as much as we'd like to. Regardless, he's a unique individual with a unique approach to Native American material. He's seen a lot, and this podcast is all about his backstory and about the core components of this business.So it was interesting to hear his stories and about the things that he's done and how he sees his role in the arts. I had a great time. This is Michael Higgins on Art Dealer Diaries Podcast episode 307.

This week on Hidden Heritage, we delve into the remarkable story of the Gordon Bird family, a talented group of artists from South Dakota who have been defying the odds for nearly four decades. Known for their contributions to Native American art and music, the Birds have not only found a way to work and play together but have also paved the way for future generations of Native American artists across the country. Meet Gordon, Joanne, and Jackie Bird, a family whose artistic talents span visual arts, music, dance, and more. From their picturesque home on the north shore of Lake Campbell, they share their journey of blending traditional Native sounds with contemporary styles, creating a unique genre known as Indian blues rock. Join us as we explore their rich heritage, their artistic achievements, and their ongoing mission to promote unity, world peace, and global healing through their work. The Gordon Bird family's story is a testament to the resilience and creativity of Native American culture, offering inspiration to the next generation of performers.

Joining us for our annual preview of Santa Fe Indian Market is Mateo Romero, a contemporary painter whose works speak to the beauty and history of the American Southwest. We discuss some of that vital history today as we chat about the world-famous market, some of the historic sites around the Santa Fe Plaza and the union of three unqiue cultures, which has come to define much of Santa Fe and Northern New Mexico. Santa Fe Indian Market will be held on August 17 and 18, 2024, with other events happening throughout market week. Native American Art is the Official Magazine of Santa Fe Indian Market and a proud sponsor of the annual event. To learn more visit nativeamericanartmagazine.com  

I had Terry DeWald on today. I've known Terry for over 30 years. He's a magnificent person and he's a dealer, but he's also an expert in Native American basketry and textiles, specifically Navajo. He's spent his entire life working with the Tohono O'Odham basket makers and knows them all very intimately and are a big part of  his life.I've been trying to get him to come for a long time because he has so much to say. He knows so many people. He did so many interesting things, from being a professional baseball player to a teacher to again finding his way into the Native American art field. He's what we refer to as an Indian art trader. That's what all these guys were kind of referred to as in the early 70s, late 60s up until today.  I've been trying to interview these individuals while they're here. Unfortunately we've lost a few, and we're going to lose a lot more.It's a subculture that's very unique in the whole of Americana. A group of non-Native individuals who dedicated their lives to Native American arts. Most of them work directly with different individuals, contemporary native artists, but also having this great love for historical material and really understanding it like very few can.So it was a real gem of a podcast.  I think you'll really enjoy this one with Native American art expert Terry DeWald.

[Western Art] We are recording in Santa Fe, New Mexico, today as Jenny Kimball joins the show. Jenny is a co-owner of La Fonda on the Plaza, the 102-year-old hotel on the Santa Fe Plaza. We talk about the many events that are hosted in and around La Fonda, especially in August during Santa Fe Indian Market, and also about the vast art collection that remains on view within the rooms and common areas at the hotel. Native American Art magazine is a proud partner and supporter of La Fonda, which has long supported Western and Native American art and artists.

Very special guests on today's show: Jody Folwell and her daughter Susan Folwell. Jody and Susan are two of the most respected Native American potters working today. They talk about their careers, the methods they use to create their work and a major new exhibition at the Booth Western Art Museum featuring five generations of Folwell pottery. The exhibition runs from June 22 to October 20 at the Booth Museum in Cartersville, Georgia. This episode in sponsored by Native American Art magazine, the only art magazine devoted to historic and contemporary art by Native American artists.   Subscribe today at nativeamericanartmagazine.com.   

Shelley Niro (Kanien'kehaka) grew up watching her father craft faux tomahawks to sell to tourists who flocked to her birthplace, Niagara Falls. In this episode of the Hyperallergic podcast, she reflects on how witnessing him create these objects planted the seeds for her brilliant multidisciplinary art practice spanning film, sculpture, beading, and photography. The National Museum of the American Indian in New York displayed a retrospective of her work titled Shelley Niro: 500 Year Itch, a traveling exhibit which will be on display next at the National Gallery of Canada, in Ottawa, Ontario. She joined us in our Brooklyn studio for an interview, where she reflected on growing up in the Six Nations of the Grand River, the Native artists she discovered on her dentist's wall but rarely encountered in a museum before the mid-'90s, and her latest obsession with 500 million-year-old fossils.The music and sound effects in this episode are from the films “Honey Moccasin” and “Tree” by Shelley Niro, courtesy of the artist. Subscribe to Hyperallergic on Apple Podcasts, and anywhere else you listen to podcasts.(00:00) - Intro (03:02) - Beginnings of “500 Year Itch” Retrospective (04:18) - About “Honey Moccasin” (06:47) - Early Life (08:42) - The Six Nations of the Grand River (12:12) - Going to Art School and Native Representation in Museums (19:12) - Work in Painting (22:32) - Work in Photography (24:53) - On Niagara Falls (26:29) - History Behind Grand River Reserve (27:58) - The 1990s and Institutional Perspectives on Native American Art (31:12) - “Mohawks and Beehives” Series (34:51) - Why “500 Year Itch”? (39:47) - Art Schools Today (42:54) - Humor (47:27) - “In Her Lifetime” Series (49:57) - The Grand River (53:52) - Newest Works and Ancient Fossils (57:05) - Outro —Subscribe to Hyperallergic NewslettersBecome a member

Tess Lukey is co-curator of the inaugural Boston Triennial and Associate Curator of Native American Art at The Trustees of Reservations (The Trustees), the nation's first and state's largest land conservation nonprofit. Lukey, an Aquinnah Wampanoag tribal member and lifelong New Englander, previously worked for the Museum of Fine Arts and the Society of Arts and Crafts in Boston, and the John Sommers Gallery in Albuquerque, New Mexico. She has also completed fellowships at the Peabody Essex Museum in Salem, Massachusetts, and the Hibben Center for Archaeology Study and the Maxwell Museum of Anthropology in Albuquerque. Lukey is also a traditional potter and basket weaver practicing the techniques of her own Indigenous community.She and Zuckerman discuss reciprocity, pairing artists and experts, how artists can address things in ways that no one else can, teaching people about making, her relation with clay, finger weaving, physically working with a place, being an artist, a maker, and a member, how art needs people, gaining family and realizing who she is, working with the land, guiding museums about respecting tribal sovereignty, her studio visit strategy, magical moments, making ceramics sing, and what can contain all the knowledge in the world!

Our new episode is all about fashion with Amber-Dawn Bear Robe, the organizer of SWAIA Fashion, which includes the August fashion shows at Santa Fe Indian Market and this year's inaugural SWAIA Native Fashion Week in Santa Fe, New Mexico, which will take place May 2-5. Amber-Dawn discusses the state of fashion now, and specifically talks about the importance of Indigenous designers who are rising up within the world of fashion. Today's episode is sponsored by Native American Art magazine, which is hosting a VIP Fashion Party in Santa Fe on May 3. Click the banner on www.nativeamericanartmagazine.com to learn more and buy tickets.

For this special episode, we take you into the tents and booths of the Heard Museum Guild Indian Fair & Market that was held March 2 and 3 in Phoenix at the Heard Museum. Michael Clawson speaks to five top artists: Best of Show winner Hollis Chitto, fashion designer and weaver Naiomi Glasses, pueblo carver Kevin Sekakuku, fur artist Christy Ruby and jeweler JJ Otero. Native American Art magazine was the official magazine of the Heard Market. To learn more, visit nativeamericanartmagazine.com. And be sure to learn more about the Heard Museum at heard.org.

EPISODE 250! Visiting our Scottsdale studio for today's show is Leroy Garcia, owner of Blue Rain Gallery and prominent art dealer in Santa Fe, New Mexico. In the episode, Leroy talks about his gallery and its history, his expansion into Colorado, the art scene in Santa Fe and some of the artists he represents. Be sure to visit Blue Rain Gallery in both New Mexico and Colorado. Learn more @blueraingallery and www.blueraingallery.com Learn more about the American Art Collective Podcast https://americanartcollective.libsyn.com/ Welcome to the American Art Collective podcast, the official podcast of International Artist Publishing. Each week we'll bring you fresh perspectives from the communities of our five magazines: American Art Collector, Western Art Collector, American Fine Art Magazine, Native American Art and International Artist. On the podcast, we'll go beyond the magazine pages, and into the secret gardens of imagination. We'll visit with the movers and shakers and newsmakers. Everyone from artists and gallery owners, to collectors, museum curators and more. Join us to hear their stories and secrets behind how they got to be who they are, and where they are, in the world of art. The American Art Collective Podcast is YOUR all-access behind-the-scenes pass to what's new, what's now, and what's next in American art!

Native American Art - This episode features sculptor Roxanne Swentzell, whose works graces the cover of the February/March 2024 issue of Native American Art magazine. Roxanne will be showing her newest creations at the Heard Museum Guild Indian Fair & Market in Phoenix on March 2 and 3. Native American Art magazine is the OFFICIAL magazine of the market. Learn more about the magazine at www.nativeamericanartmagazine.com and visit the Heard's website at www.heard.org.

The exhibition The Time Is Always Now, featuring 22 artists from the African diaspora whose work takes the Black figure as its starting point, is now open at the National Portrait Gallery in London, and will tour to Philadelphia later in the year. We explore the show with its curator Ekow Eshun. 2024 marks the centenary of the the first Surrealist manifesto by André Breton, and the first of a series of exhibitions focusing on the movement this year opened at the Royal Museums of Fine Arts of Belgium in Brussels this week, before travelling to the Centre Pompidou later in the year and Hamburg, Madrid and Philadelphia (again) next year. But what did that first manifesto contain and how did it influence the course of the movement? Alyce Mahon, a Surrealism specialist and professor of Modern and Contemporary Art at the University of Cambridge, tells us more. And this episode's Work of the Week is Eagle Dance (1934) by Tonita Peña, one of the leading Native American Pueblo artists of the 20th century. It features in a new exhibition, Native American Art of the 20th Century: The William P. Healey Collection, at the Saint Louis Art Museum in the US. Alexander Brier Marr, the associate curator of Native American art at the museum, joins us to discuss the painting.The Time Is Always Now: Artists Reframe the Black Figure, National Portrait Gallery, London, 22 February-19 May; The Box, Plymouth, UK, 29 June-29 September; Philadelphia Museum of Art, 9 November-9 February 2025.Alyce Mahon is the co-editor of a new International Journal of Surrealism, published by Minnesota University Press; Dorothea Tanning: A Surrealist World, by Alyce Mahon, Yale University Press, published in September. IMAGINE! 100 Years of International Surrealism, Royal Museums of Fine Arts of Belgium, Brussels, 21 February-21 July; Centre Pompidou, Paris, 4 September-13 January 2025; Fundación MAPFRE, Madrid, 4 February–11 May 2025; Hamburger Kunsthalle, Hamburg, Germany, 12 June 2025-12 October 2025; Philadelphia Museum of Art, US, autumn 2025–spring 2026.Native American Art of the 20th Century: The William P. Healey Collection, Saint Louis Art Museum, US, until 14 July.Last chance: buy The Art Newspaper's magazine The Year Ahead 2024, an authoritative guide to the world's must-see art exhibitions and museum openings at theartnewspaper.com until 1 March for just £9.99 or $13.69. Hosted on Acast. See acast.com/privacy for more information.

On site at Art Basel Miami Beach 2023, Matthew Newton, UBS Art Advisory Specialist, is joined in conversation by artist Jeffrey Gibson, curator Kathleen Ash-Milby, and collector Becky Gochman. Centered on Gibson's multidisciplinary practice, the group offers perspectives on how the curatorial and collecting roles contribute to the overall preservation and enrichment of indigenous culture. Gibson, a member of the Choctaw and Cherokee Nations, will represent the United States at the Venice Biennale in 2024 and his work was featured this year in the UBS Art Collection presentation in the UBS Lounge. Kathleen Ash-Milby is Curator of Native American Art, Portland Art Museum and co-commissioner of the U.S Pavilion at the 2024 Venice Biennale. Becky Gochman is a prominent private collector of contemporary indigenous art.

Mark Sublette is the founder and owner of Medicine Man Gallery. A formal Naval physician, Mark is an expert in western art, specializing in the art of Maynard Dixon. He hosts the "The Art Dealer Diaries Podcast," which features over 200 interviews with unique individuals who curate, collect, create, write, sell, and deal in Western and Native art. Mark's involvement in the arts is all-encompassing. He buys, sells, researches, educates, and has established a foundation for the arts. Mark also is the author of the Charles Bloom Murder Mystery series. The photography featured in his novels is his other love. He joins Russell and Alan for a fascinating chat.

[REBROADCAST FROM Oct 9, 2023] A new exhibition features more than one hundred historical, modern, and contemporary clay works. It's titled, Grounded in Clay: The Spirit of Pueblo Pottery, and it's the first community-curated Native American exhibition in the history of The Metropolitan Museum of Art. Patricia Marroquin Norby (Purépecha), the associate curator of Native American Art at The Met, and visual artist Michael Namingha (Ohkay Owingeh-Hopi) joins us to talk about the show on display through June 4, 2024.

Our next guest and her husband are filmmakers who recently relocated to our state's Lowcountry. Their documentary about a Native American youth art project and its role in revitalizing their language and culture has won multiple awards across the country, most recently the Susan A. K. Shaffer Humanitarian Award at the Beaufort International Film Festival. Mike Switzer interviews Heather Steinberger, producer of Waniyetu Wowapi: Winter Count.

Join my online school for eBay sellers here. Use coupon code 2022FREETRIAL$ for a limited free trial.Email your comments, feedback, and constructive criticism to me at Suzanne@SuzanneAWells.comGet your BOLO Books in my eBay Store here. Book a consulting session here.Join my private Facebook group here.Find me on YouTube here.Visit my website here.Happy Selling!Support the show

For more than 50 years, Joe Feddersen (Colville) and G. Peter Jemison (Seneca, Heron Clan) have been creating works that extend Native heritage and enrich the stories told by American art. Through an ambidextrous approach to craft and figuration, Feddersen finds consonance between contemporary life and traditional forms and iconographies, while Jemison highlights the continuities and ruptures of Native experiences in our shared spaces. With wide-ranging community education, preservation, and advocacy projects, Feddersen and Jemison show that new paths emerge from the old. Show Notes and Transcript available at www.aaa.si.edu/articulated

There's nothing better than the third week in August at Indian Market in Santa Fe. I took this entire weekend to film interviews with artisans and people running the event to give you a sense of what it's like. We went to the SWAIA presentation of Best of Show, which we were fortunate enough to be able to sponsor for the next four years. So you kind of get a behind-the-scenes of what it's really like for the artists as well as seeing people peruse the market and experience a tidal wave of indigenous art.So it's a bucket list item for anyone who loves Native American material in Santa Fe. I hope you enjoy listening or watching, however you want to take this in. I hope you enjoy it as much as I did. The 101st Indian Market in Santa Fe.

A new exhibition features more than one hundred historical, modern, and contemporary clay works. It's titled, Grounded in Clay: The Spirit of Pueblo Pottery, and it's the first community-curated Native American exhibition in the history of The Metropolitan Museum of Art. Patricia Marroquin Norby (Purépecha), the associate curator of Native American Art at The Met, and visual artist Michael Namingha (Ohkay Owingeh-Hopi) joins us to talk about the show on display through June 4.

As the California legislative session ends, which bills have a pathway to be signed into law? The Gorman Museum of Native American Art major expansion. Stockton Symphony kicks off the upcoming season with new leadership. California Legislative Session Recap Roughly 2,600 bills were introduced at the State Capitol this year. Over the months, they have filtered their way through amendments and committees, in pursuit of being passed and heading to the governor's desk to be signed into law. The finish line has come and passed. CapRadio Politics Reporter Nicole Nixon joins us with a recap of the legislative session, which ended on Thursday, sharing some of the most notable bills passed by the legislature and their likelihood of being signed by Gov. Newsom.  Gorman Museum of Native American Art UC Davis' Gorman Museum of Native American Art is expanding, big time. This week, the museum opens in its new location on campus, with new exhibits and features. The new gallery is four times the size of the former site and is still one of only a small handful of museums focused on contemporary Native American art. Museum director and professor in the Department of Native American Studies, Hulleah Tsinhnahjinnie, and curator Veronica Passalacqua for a virtual tour of the new and improved museum and we'll learn more about some of the artwork inside and outside the new venue. Stockton Symphony's New Chapter  The Stockton Symphony is entering its 97th season, the third-oldest continuously operating professional orchestra in California. And the 2023-2024 season is starting a new chapter. Earlier this year, the symphony's CEO Philip West unexpectedly passed away. In the months since, West's contribution was honored in performances. And this season begins with new leadership. Music Director and Conductor Peter Jaffe joins Insight to introduce the new CEO Scott Watkins, as well as provide a preview of their season opener which kicks off Saturday Sept. 23. 

Today's episode was recorded on the streets of Santa Fe for SWAIA's 2023 Santa Fe Indian Market, which took place on August 19 and 20. Host Maggie Cibik stops by the booths of artists Brent Learned, Chase Kahwinhut Earles, Sage Mountainflower, and Fritz Casuse with his son Mosgaadace Casuse. Native American Art magazine is the official magazine of Santa Fe Indian Market. To learn more about the show and the artists, visit www.nativeamericanartmagazine.com.

Today's episode was recorded on the streets of Santa Fe for SWAIA's 2023 Santa Fe Indian Market, which took place on August 19 and 20. Host Michael Clawson drops by the booths of potter Jared Tso, hatmaker Melissa Lewis-Barnes, jeweler Maria Samora, and best-of-show winner Jennifer Tafoya. Native American Art magazine is the official magazine of Santa Fe Indian Market. To learn more about the show and the artists, visit www.nativeamericanartmagazine.com.

This episode features an interview with Sháńdíín Brown (Diné), continuing our series talking to participants in the Momus residency "Estuaries: An International Indigenous Art Criticism Residency" co-hosted with Forge Project. Lauren Wetmore talks to Sháńdíín Brown, a citizen of the Navajo Nation and the first Henry Luce Curatorial Fellow for Native American Art at Rhode Island School of Design (RISD) Museum, about two very different texts written almost a century apart: Laura Tohe's "There is No Word for Feminism in My Language" (2000) and Uriah S. Hollister's "The Navajo and His Blanket" (1903). Brown speaks about these two texts in the context of the exhibition she has curated Diné Textiles: Nizhónígo Hadadít'eh (They Are Beautifully Dressed), which opens in early September at the RISD Museum. In highlighting the important role of women in Navajo culture, and Brown's own work as a facilitator of that culture, she speaks against racist writing about Indigenous art: "When someone so boldly says 'the Navajos are going to go extinct,'" Brown says of Hollister's text, "you're like, me being here, having Native people in museums, having Native people invited to be collaborators, and working in art history is a big deal."Diné Textiles: Nizhónígo Hadadít'eh (They Are Beautifully Dressed) curated by Sháńdíín Brown, will be on view from September 2nd, 2023 to September 29th, 2024.Thanks to our Editor, Jacob Irish; Assistant Producer, Chris Andrews; and many thanks to Gulf Coast Magazine's Toni Beauchamp Critical Art Writing Prize for their support.This episode has been generously supported by the Mellon Foundation.

Leroy gives us a gallery tour during our 2023 Annual Celebration of Native American Art Learn more at blueraingallery.com The Blue Rain Gallery Podcast is hosted by Leroy Garcia and produced by Leah Garcia. Music by Mozart Gabriel Abeyta.

In order of appearance:• Jamie Schulze: Executive Director, SWAIA • Bo Joe: Navajo/Uté Silversmith (Booth # LIN W 757)• Barbara Teller Ornelas:  Navajo Weaver (Booth # LIN W 774)• Jared Chavez: San Felipe Silversmith (Booth # FR N 306)• Russell Sanchez: San Ildefonso Pueblo Potter (Booth # LIN E 711)• Kathleen Wall: Jemez Pueblo Pottery Artist  (Booth # PLZ 78)• Marla Allison: Laguna Pueblo Artist (Booth # LIN E 730)• Mateo Romero: Artist and Activist (Booth # LIN E 739)• Duane Maktima: Hopi/Laguna Silversmith• Susan Folwell: Santa Clara Pueblo Potter• Tony Abeyta: Navajo Oil PainterSo one of my favorite times of the year is the third week in August, because that's Indian Market weekend in Santa Fe. it's a remarkable event. You have a thousand different artisans show up in this big mix of culture and artwork.You have contemporary, you have traditional, all of it's made by the artisans. They all come together for this one weekend in Santa Fe. It's such a special event. I've been doing it since the early nineties and I would always bring my kids. Each of the children would get to pick out a piece to add to their collection. I highly encourage people to go and visit at least once. It's not only a special time for the collectors, but the artisans too. It's part of a tradition for so many families from across the country, Native artists that come and get to interact with collectors directly, which is wonderful because it's hard for them often because they may be living in remote areas.I've done a lot of podcasts over the last six years, and during those times I've interviewed lots of native artists that have participated in the Santa Fe Indian market. It's been a big part of their life and their family's life, so I figured it would be a great time during Indian Market weekend to rehash and take another look/listen to some of these different artists that we've had on the podcast over the years.I usually don't do podcasts that are in the moment. I like to do podcasts that'll be relevant during any time frame. In this case, I would like people to be able to go and visit these artists at Indian Market. So it's a wonderful kind of review of what Indian Market and Santa Fe as a whole is to so many different artists. We're also very blessed to be able to sponsor the Best of Show Award award for the next five years for SWAIA. I hope people go out and get to do what I've always done and love doing - connecting with and supporting amazing Native American artisans.We invite members of the media and influencers to take event photos and post them using the hashtag #santafeindianmarket.

For the first time in its history, the St. Louis Art Museum (SLAM) has curated an exhibition of work by modern Indigenous American artists. “Action-Abstraction Redefined” showcases 20th-century pieces paired with an audio guide featuring their creators. Alex Marr, the museum's associate curator of Native American Art, talks with STLPR senior reporter Jeremy D. Goodwin about SLAM's history of collecting, and not showing, Native American art — and how this exhibition aims to bring visibility to Native histories.

Returning to the podcast is Jamie Schulze, the executive director of SWAIA, the arts organization that puts on Santa Fe Indian Market every August in Santa Fe, New Mexico. Jamie joins us to talk about the 2023 market, the role of SWAIA within the Native American art market, and the full schedule of this year's market. Native American Art magazine is the official magazine of Santa Fe Indian Market, which takes place August 19 and 20 in Santa Fe. Find out more at swaia.org and nativeamericanartmagazine.com

Where do we even begin? Poteet Victory is one of the world's most in-demand and collectible contemporary Native American artists. Although Victory's work is abstract, his Cherokee-Choctaw influence still shines through his paintings. Poteet called in from his art studio in downtown Santa Fe, NM. His story is full of name drops, different zip codes, American history and success. Victory was first approached as an artist by his mentor, Harold Stevenson, who is famous for the controversial painting, The New Adam, which is now in the Guggenheim's permanent collection. The art scene he describes is out of movie. In NYC spending time with Andy Warhol to what he calls his "start" working for a t-shirt graphic company in Maui (owned by a group who believed Jesus lived in an alien spaceship). His largest work, a 13ft tall and 60ft wide mural, still stands unfinished due to its controversial content which was rejected by the museum half way through its completion. The mural aimed to depict the Trail of Tears; the deadly and forceful migration of Native Americans to Oklahoma.  He is a celebrated artist recently added to the Hall of Fame for Native American Art. He has served in the military, lived all over the USA, retains celebrity clientele and yet, remains a humble spirit. Enjoy this episode with guest, Poteet Victory, and learn the many lives he has lived with his years.  

I had Jamie Schulze say today, she is just a terrific individual and I just love her upbeat, happy demeanor. You can just feel in her something that is giving. She's the perfect person to be the executive director of SWAIA. Jaimie is someone who really cares about the artists and understands the process. She has the responsibility of promoting not only the art, but the cultural sensitivity of participants that represent over 200 different tribes. So it's a big organization to control and this is her first full year doing it. We talk about some of the upcoming things that will happen at Santa Fe Indian Market, which is this year during the third week of August. It was interesting to hear her backstory growing up on the reservation in Montana, as well how she ended up at SWAIA and her commitment to the organization. Medicine Man Gallery is going to be sponsoring the best of show award for Santa Fe Indian Market for the next five years, which is a big deal because I've been going to the event for over 30 years and I feel a strong connection to the artisans there. To be able to give back to that community is very rewarding on a personal level.All that being said, it was very fun to get to talk to Jamie Schulze and I hope you enjoy the podcast as much as I did.

On July 4, The Show is listening back to some of our favorite conversations. We'll hear about the challenges of defining Native American Art, how Hollywood portrays the South, and we'll visit the Hall of Flame Museum in Papago Park. That and more on The Show.

Painter Nocona Burgess drops by our studio to talk about his artwork, his journey as an artist, and his involvement in art shows around the country, including the upcoming Santa Fe Indian Market in Santa Fe, New Mexico. Nocona will have a booth at the event, which takes place on August 19 and 20, 2023. Today's episode is sponsored by Native American Art magazine, the official magazine of Santa Fe Indian Market.

In the myths and fairytales, everything teems with sentience and agency... Everything is alive. There are talking trees and singing stones and hedges that move of their own will. Mirrors speak. Swords dance. There are flying carpets and far-seeing spyglasses and cloaks and boots that leap by themselves. This pervasive insistence in the old stories that absolutely everything is alive — that everything has eyes — butts up against modern rationality and therefore gets marginalized as childish 'fantasy.' But as science discovers more and more that the lines between living and dead, conscious and not, human and non-human are not as clearcut as we'd once imagined, as science starts to unpack the sentience of trees and the latent life within clay, we start to (re)discover that 'things' are not just dead objects at all, and that this whole world hums with animacy. And so the vision of a world of persons, a world with eyes, is not simply a child's eye view — it's actually much closer to the way things are. In taking our attention to the least of things, and remembering that we inhabit a world with eyes, we open up the possibility of redefining our relationship with the cosmos itself. Sparked to life by a conversation with sculptor Rose B. Simpson and featuring original music by Peia, Marya Stark, Sidibe, Ben Murphy, and Andy Aquarius, this episode takes us on a journey through talking stones and living clay and animate bells and drums into a world in which everything has eyes, everything has agency, everything is a portal to the infinite — even the seemingly 'inanimate.' Even... your car. Listen on a good sound system, at a time when you can devote your full attention.Support the show

University of California, Davis, art history professor Heghnar Watenpaugh discussed objects of native American culture in museum collections as well as repatriation efforts. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this podcast, Cray interviews John Lukavic, the Andrew W. Mellon Curator of Native Arts and head of the Native Arts Department at the Denver Art Museum. John explains that his department includes indigenous arts of North America, arts of Africa, and arts of Oceania, but they are kept separate to maintain their identity. His primary focus is on indigenous arts of North America, and he emphasizes the importance of using indigenous ways of knowing, being seen, and doing as a guiding light for their work.The Denver Art Museum has always focused on contemporary indigenous art, rather than trying to preserve the ways of the past. Their indigenous art collection includes about 18,000 works of art that span from the 20th to the 21st century, with the biggest regional groups being the Southwest, Plains, and Northwest coast. Due to the nature of the historical works, the museum has to do rotations quite often.The conversation also touches on the ebb and flow of attention given to indigenous arts by non-native art institutions and the recent groundswell of interest in indigenous voices, which may be attributed to social events such as Black Lives Matter protests and the intersectionality movement. The conversation revolves around the Denver Art Museum's collection and how they acquire new pieces. They often work with collectors to build a collection that is donated to the museum over time or receive donations from individual donors.Massacre in America: Wounded Kneehttps://www.denverartmuseum.org/en/object/2016.174List of artworks and credit lines mentioned in John Lukavic's interview forBeyond the Art podcast5.1.23- Jamie Okuma (Luiseño, Shoshone-Bannock, Wailaki, and Okinawan), with contributions by Cameron Linton, Sandra Okuma, Pat Pruitt, Keri Ataumbi, and Tania Larson, Untitled, 2018–19. Ribbon, seed beads, thread, dentalium shell, metal, buckskin, brass sequins, silk, fur, and human hair. 26½ × 32 × 17¾ in. Denver Art Museum: Funds by exchange from the William Sr. and Dorothy Harmsen Collection at the Denver Art Museum, 2018.863. ©Jamie Okuma. Photography ©Denver Art Museum.- Michael Nicoll Yahgulanaas (Haida), DAM Dancing Crane, 2020. Steel Toyota Tercel automobile hood, acrylic lacquer, paint, copper leaf, and paper; 32 x 55 in. Gift in honor of Jeremy G. and Anna L. Fogg & family, Sarah T. and William J. Connolly III & family, Marion McMillin Wooten, Susan Anne Wooten, Simeon Franics and Ellen Kelley Wooten & family, and William Boulton and Ellen Harvey Kelly & family, 2019.867. © Michael Nicoll Yahgulanaas.- Fritz Scholder (Luiseño), Indian at the Bar, from Indians Forever, 1971. Print; 30 x 22 in. Denver Art Museum: Museum Purchase, 1973.53.5. © Estate of Fritz Scholder.- Julie Buffalohead (Ponca), A Little Medicine and Magic, 2018. Oil paint on canvas; 52 x 72 in. Denver Art Museum: Native Arts acquisition funds, 2018.301A-B. © Julie Buffalohead.- Kent Monkman (Fisher River Band Cree), The Scream, 2017. Acrylic paint on canvas; 84 x 132 in. Denver Art Museum: Native Arts acquisition funds and funds from Loren G. Lipson, M.D, 2017.93. © Kent Monkman.- Jeremy Frey (Passamaquoddy), Watchful Spirit, 2022. Ash tree fibers, porcupine quill, and sweet grass; 27 3/8 in. x 22 1/4 in. dia. Denver Art Museum: Purchased with the Nancy Blomberg Acquisitions Fund for Native American Art, 2022.51A-B © Jeremy Frey.- Dyani White Hawk (Sicangu Lakota), Untitled (Quiet Strength, II), 2017. Denver Art Museum...

Our next guest and her husband are filmmakers who recently relocated to our state's Lowcountry. Their documentary about a Native American youth art project and its role in revitalizing their language and culture has won multiple awards across the country, most recently the Susan A. K. Shaffer Humanitarian Award at the Beaufort International Film Festival. Mike Switzer interviews Heather Steinberger, producer of Waniyetu Wowapi: Winter Count.

Today we report from the Heard Museum Guild Indian Fair & Market in Phoenix, where more than 600 Native American artists were offering their artwork on March 4 and 5. Native American Art magazine was the official magazine of the market, so we were on hand to hand out copies of the magazine, meet with artists and browse the art. In today's episode, part two, we talk to Heather Johnston, Venancio Aragon and Kathleen Wall.

Art historian Matthew Milliner (Wheaton College) reflects on one of the most powerful and moving Christian icons: “The Virgin of the Passion,” AKA, “Our Lady of Perpetual Help,” which he develops in his book, Mother of the Lamb: The Story of a Global Icon. First painted as a response to failed Christian Empire and the violence of the Crusades, then mass produced and proliferated as a norm of Christian aesthetic worship, the icon offers a unique filter for contemporary understanding of faith and power; the Christian temptation to nationalism, empire, and violence; the meaning and visual expression of suffering love; and the beauty of engaged, solidarity and prophetic witness. This episode was made possible by a grant from the Tyndale House Foundation.Support the Yale Center for Faith & Culture's $25,000 End of Year Matching Campaign by giving online today: https://faith.yale.edu/giveShow NotesClick to view: “Virgin of the Passion, late 15th century” Andrea Rico di Candia, Cretan, active 1451–1492, tempera on wood panel (Princeton University Art Museum)Click to get a copy of Matthew Milliner's Mother of the Lamb: The Story of a Global IconAbout Matthew MillinerMatthew Milliner is Associate Professor of Art History at Wheaton College. He holds an M.A. & Ph.D. in art history from Princeton University, and an M.Div from Princeton Theological Seminary. He is author is author most recently of The Everlasting People: G.K. Chesterton and the First Nations and Mother of the Lamb: The Story of a Global Icon. His scholarly specialization is Byzantine and medieval art, with a focus on how such images inform contemporary visual culture. He teaches across the range of art history with an eye for the prospects and pitfalls of visual theology. He is a five-time appointee to the Curatorial Advisory Board of the United States Senate, and a winner of Redeemer University's Emerging Public Intellectual Award. He has written for publications ranging from The New York Times to First Thing_s. He recently delivered the Wade Center's Hansen lecture series on Native American Art, and was awarded a Commonwealth fellowship at the Institute for Advanced Studies in Culture at the University of Virginia. to complete his forthcoming book, _Mother of the Lamb (Fortress Press). Follow @Millinerd on TwitterProduction NotesThis podcast featured art historian Matthew MillinerEdited and Produced by Evan RosaHosted by Evan RosaProduction assistance by Macie BridgeA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/give

Last spring, more than 100 Oregonians posed for portraits on empty pedestals in downtown Portland that used to house sculptures of former presidents. The portraits are the brainchild of indigenous artist Jeffrey Gibson, who was invited by Portland Art Museum to create a multimedia installation both inside and outside the museum. Gibson, a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, created the portraits, glass panels, and a timeline of notable dates in Oregon's Indigenous history. We talk to Gibson, and to Kathleen Ash-Milby, curator of Native American Art at the Portland Art Museum, about the exhibit.